The transient connections between lives – the unexpected, fleeting crossovers – suggest a bigger, metaphysical presence in the universe. But this tragic event is not just a flimsy device to tie the film’s strands together, it is an accident of chance used to explore Iñárritu’s compelling theme of fate. This car chase appears numerous times throughout the film from these different perspectives: the model is a victim of the crash which throws her life into chaos and the father a passerby who rescues a dog from the wreckage.
The chase ends in a cataclysmic crash that pulls together three different stories – a man’s lust for his brother’s wife, a model coping with dramatic career and relationship changes and an absent father’s guilt.
A dog is dying on the back seat while its owner tries desperately to evade those pursuing him through the busy streets of Mexico. The Car Crash: An Accident Of FateĪmores Perros opens with a frenetic, fraught car chase. Let’s take a look at some of the recurring images Iñárittu uses to convey his ideas and what they (in the spirit of interpretation) might mean. The closer you watch Amores Perros, the more it reveals, its themes peeling further on every viewing. Scope for interpretation flows throughout Inarittu’s entire filmography and never more so than in Amores Perros, a murky, opaque multi-layered film in which Iñárritu raises his questions about fate and love with a lightness of touch, with metaphor and gentle, visual suggestion. It’s an apt title for Iñárittu’s film, and indeed for his debut. As an expression, Amores Perros translates to ‘that which is good and desirable in life and that which is miserable.’ These various meanings are also reflected in the characters of Iñárittu’s film. Perros translates to ‘dogs’ which feature heavily in the film (more on that later) but has also been said to mean, in pejoritive terms, ‘an unworthy person’, ‘a hired killer’, ‘a prostitute’ and ‘an unfaithful man’. The Spanish title of his debut, Amores Perros, has numerous meanings. In Amores Perros there are few human deaths but ideals, hopes, and dreams are obliterated. It was the first film in a trilogy exploring the theme of death. In 2000, director Alejandro González Iñárittu released his first feature-length film, Amores Perros. Recently, Natalie also inducted Iñárittu’s 21 Grams into our Greats section. With her permission, we are re-posting the beautiful piece in celebration of Alejandro González Iñárittu and his newest film Birdman, which opened this week in American theaters. The following article originally appeared at WriterLovesFilm, a film site run by author Natalie Stendall, one of our favorite contributors at Audiences Everywhere.
0 kommentar(er)
